DOCSLIB.ORG

Publishing Swinburne; the Poet, His Publishers and Critics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Publishing Swinburne; the Poet, His Publishers and Critics UNIVERSITY OF READING Publishing Swinburne; the poet, his publishers and critics. Vol. 1: Text Submitted for the degree of Doctor of Philosophy Department of English Language and Literature Clive Simmonds May 2013 1 Abstract This thesis examines the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909). The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of Poems and Ballads in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important throughout his career not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The thesis shows that popular interest was mainly on his earlier poetry, and suggests his high contemporary reputation (which was not fully reflected in sales) was maintained by the periodical press. 2 Declaration I confirm that this is my own work and the use of all material from other sources has been properly and fully acknowledged. Signed Date Some material from my article ‘Swinburne’s first book: The Queen-Mother and Rosamond (1860)’ Publishing History, 66 (2009) pp.63-76, and from my Open University M.A. Thesis entitled The Publication and Reception of Swinburne’s Poems and Ballads (1866) is incorporated in Chapters 1, 2 and 4 of this thesis. Acknowledgements I wish to thank the Special Collections staff at the University of Reading for their patient and frequent retrieval of the Hotten and Chatto ledgers and letter books over the last few years, and my supervisor, Dr Andrew Nash for his guidance throughout this thesis. 3 Contents Vol. 1: Text Introduction 7 Chapter 1: Swinburne and his publishers, 1860 – 1874 (a) Pickering 10 (b) Moxon: Atalanta in Calydon and Chastelard 18 (c) Moxon: Poems and Ballads 34 (d) Hotten 45 (e) The search for a new publisher 66 Chapter 2: Criticism and response, 1866 – 1878 (a) Poems and Ballads 80 (b) Criticism and response 1867-1878 103 Chapter 3: The Periodical Press 126 (a) Reviewing Swinburne 127 (b) Swinburne’s poetry and articles in the periodical press 145 4 Chapter 4: Selling Swinburne 167 (a) Publishing the books: payments, costs and editions 168 (b) Copyright and the American market 185 (c) Swinburne the pamphleteer 199 (d) A note on Swinburne’s readership 215 Chapter 5: Reshaping the poet, 1878 – 1909 220 (a) The guidance of Watts 221 (b) Selections (1887) 234 (c) Patriotic themes 244 (d) Swinburne’s Collected Edition, 1904-1905 256 Conclusion 274 Note on Sources and Bibliography 278 5 Vol. 2: Annexes 1-22 Annex 1 Swinburne’s Print Runs and Publication prices 4 Annex 2 Swinburne’s Publications in the Periodical Press 14 Annex 3 Reviews of Swinburne’s books listed by journal 40 Annex 4 Statements of account from Hotten to Swinburne 82 Annex 5 Hotten’s print runs and binding records 84 Annex 6 Comparison of Hotten’s recorded print runs with accounts 88 Annex 7 Text of Chatto Agreement 1874 90 Annex 8 The Poems and Ballads press furore, July 1866- January 1867 92 Annex 9 Review lists for Poems and Ballads (1889) and Studies in 103 Prose and Poetry (1894) Annex 10 Some statistics of poetry published in Victorian periodicals 104 Annex 11 Poetry published in The Nineteenth Century 1877-1902 108 Annex 12 Publishers’ Circular’s annual poetry publishing statistics 112 Annex 13 Swinburne’s earnings from Chatto royalties, 1874-1916 113 6 Annex 14 Mudie’s Select Library 117 14a: Swinburne’s titles stocked by Mudie’s Select Library, 117 1865-1884 14b: Subject breakdown of Mudie’s stock, 1869 119 14c: Poetry, reviews and journals listed in Catalogue of 120 the Principal Books in Circulation at Mudie’s Select Library, January 1872 Annex 15 List of Pamphlets 124 Annex 16 Contemporary criticism of pamphlets 128 Annex 17 Contents of Selections (1887) and two later anthologies 133 Annex 18 Print runs of Selections 145 Annex 19 Contemporary reviews of Selections (1887) 146 and of Selections from A.C. Swinburne (1919) Annex 20 The arrangement of the Collected Edition 149 Annex 21 Print runs of the Collected Edition 154 Annex 22 Reviews of the Collected Edition 157 * * * * * 7 Introduction Surprisingly little has been written about the publication of individual Victorian poets or indeed about that of Victorian poetry generally. This thesis addresses that conspicuous gap by examining the publishing history of Algernon Charles Swinburne during his lifetime (1837-1909), a highly controversial figure at the opening of his career but a Grand Old Man of English letters by its end. The first chapter presents a detailed narrative from his first book in 1860 to the mid 1870s: it includes the scandal of Poems and Ballads in 1866; his subsequent relations with the somewhat dubious John Camden Hotten; and then his search to find another publisher who was to be Andrew Chatto, with whom Swinburne published for the rest of his life. It is followed by a chapter which looks at the tidal wave of criticism generated by Poems and Ballads but which continued long after, and shows how Swinburne responded. The third and central chapter turns to consider the periodical press, important not just for reviewing but also as a very significant medium for publishing poetry. Chapter 4 on marketing looks closely at the business of producing and of selling Swinburne’s output. Finally Chapter 5 deals with some aspects of his career after the move to Putney, and shows that while Theodore Watts, his friend and in effect his agent, was making conscious efforts to reshape the poet, some of Swinburne’s interests were moving with the tide of public taste; how this was demonstrated in particular by his volume of Selections and how his poetic oeuvre was finally consolidated in the Collected Edition at the end of his life. The existing literature on all this is very thin indeed. T.J. Wise published his Bibliography of Algernon Charles Swinburne in two privately printed volumes between 1919 and 1920, and this remains the fullest listing of Swinburne’s output. Although it contains an apparent wealth of information, that wealth is, in part, counterfeit coin. For in addition to being a tireless bibliographer Wise was no less industrious as a forger and shameless authenticator of his own spurious first editions. His Bibliography lists seventy-two editiones principes; of these only fifty are in fact genuine. Swinburne’s few biographers have usually had something to say in passing about his publishing. They nearly all rely on the first, Edmund Gosse, who wrote less than a decade after the 8 poet’s death:1 his biography benefited from close friendship with his subject during the 1870s – which gives it its particular value – and from his graceful style and easy authority; it was handicapped by the proprieties of the day, by Sir Edmund’s uncertain grasp of detail and by misplaced confidence in his friend Wise.2 There has been no discussion of Swinburne’s output in the periodical press, only on his reception as reflected in it, and that was written eighty years ago.3 Nor have the main themes of my subsequent chapters previously attracted investigation. I have used three principal sources for my research. First, contemporary letters, diaries and memoirs, above all the two invaluable collections of Swinburne’s letters edited by Lang and by Meyers, the latter only published within the last decade. Second, the archives of Hotten and of Chatto & Windus held at Reading University Library. Although these have been consulted before (both Lang and Meyers include some of the letters) it is clear no-one has ever worked through them systematically or consulted the relevant printing and account ledgers. And my third source is the Victorian press. Thanks to digitisation this vast contemporary source that previously could only be searched with the greatest labour, is gradually opening up. Various annexes present statistical and other information referred to in the body of the thesis. In particular: Annex 1 is a comprehensive list all Swinburne’s volumes with details of price, editions and size of print runs; Annex 2 lists all of Swinburne’s contributions to the periodical press, correcting and enlarging on Wise’s list in the second volume of his Bibliography and including payment details where known; and Annex 3 cites contemporary reviews of Swinburne’s volumes, augmenting very considerably the most recent listing which comprises a part of the bibliography published by Beetz thirty years ago, and indentifying many anonymous reviewers.4 1 Edmund Gosse, The Life of Algernon Charles Swinburne (London: Macmillan and Co, 1917). 2 Philip Henderson, Swinburne; portrait of a poet (London: Macmillan, 1976), p.117 tells how Moxon had issued Laus Veneris as a pamphlet in advance of the publication of Poems and Ballads in order to test contemporary opinion, a story which appeared in Gosse’s biography (Life, p.141).
Load more

Recommended publications
  • 1 a Lincolnshire Boyhood 2 Cambridge
    Notes 1 A LINCOLNSHIRE BOYHOOD 1. J. 0. Hoge, ed., 'Emily Tennyson's Narrative for her Sons', Texas Studies in Literature and Language XIV (1972), 96. 2. H. D. Rawnsley, Memories of the Tennysons (1900), p. 225. 3. See C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', Tennyson Research Bulletin II, iii (1974), 121-3 [hereafter TRB]. 4. A. Pollard, 'Three Horace Translations by Tennyson', TRB IV, i (1982), 16. 5. H. D. Paden, Tennyson in Egypt (1942), p. 103. 6. C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', p. 121. 7. This painting is still at Farringford. I am grateful to Dr Christopher Brown, Chief Curator of the National Gallery, for the attribution. 8. A. G. Weld, Glimpses of Tennyson (1903), p. 12. 9. J. Kolb, ed., The Letters of A. H. Hallam (1981), p. 457. 10. R. B. Martin, Tennyson: The Unquiet Heart (1980), p. 48. 11. E. A. Knies, ed., Tennyson at Aldworth: The Diary off. H. Mangles, (1984), p. 122. 2 CAMBRIDGE 1. C. Tennyson, Alfred Tennyson (1949), p. 55. 2. E. A. Knies, ed., Tennyson at Aldworth: The Diary of f. H. Mangles, p. 97. 3. S. T. Coleridge, Aids to Reflection, ed. D. Coleridge (7th edn, London, 1854), p. 155. 4. Arthur Hallam visited Coleridge at Highgate, but Tennyson, although invited, never went. Coleridge's rude remarks on Tennyson's han­ dling of metre would not have encouraged him. 5. Shelley's Adonais: A Critical Edition, ed. A. D. Knerr (New York, 1984), pp. 445-6. 6. H. B. Bryant, 'The African Genesis of Tennyson's "Timbuctoo"', TRB, III v (1981), 200.
    [Show full text]
  • Essays on British Women Poets B Studi Di Letterature Moderne E Comparate Collana Diretta Da Claudia Corti E Arnaldo Pizzorusso 15
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Florence Research ESSAYS ON BRITISH WOMEN POETS B STUDI DI LETTERATURE MODERNE E COMPARATE COLLANA DIRETTA DA CLAUDIA CORTI E ARNALDO PIZZORUSSO 15 SUSAN PAYNE ESSAYS ON BRITISH WOMEN POETS © Copyright 2006 by Pacini Editore SpA ISBN 88-7781-771-2 Pubblicato con un contributo dai Fondi Dipartimento di Storia delle Arti e dello Spettacolo di Firenze Fotocopie per uso personale del lettore possono essere effettuate nei limiti del 15% di ciascun volume/fascicolo di periodico dietro pagamento alla SIAE del compenso previsto dall’art. 68, comma 4, della legge 22 aprile 1941 n. 633 ovvero dall’accordo stipulato tra SIAE, AIE, SNS e CNA, CONFARTIGIANATO, CASA, CLAAI, CONFCOMMERCIO, CONFESERCENTI il 18 dicembre 2000. Le riproduzioni per uso differente da quello personale potranno avvenire solo a seguito di specifica autorizzazione rilasciata dagli aventi diritto/dall’editore. to Jen B CONTENTS Introduction . pag. 7 Renaissance Women Poets and the Sonnet Tradition in England and Italy: Mary Wroth, Vittoria Colonna and Veronica Franco. » 11 The Poet and the Muse: Isabella Lickbarrow and Lakeland Romantic Poetry . » 35 “Stone Walls do not a Prison Make”: Two Poems by Alfred Tennyson and Emily Brontë . » 59 Elizabeth Barrett Browning: The Search for a Poetic Identity . » 77 “Love or Rhyme”: Wendy Cope and the Lightness of Thoughtfulness . » 99 Bibliography. » 121 Index. » 127 B INTRODUCTION 1. These five essays are the result of a series of coincidences rather than a carefully thought out plan of action, but, as is the case with many apparently haphazard choices, they reflect an ongoing interest which has lasted for the past ten years.
    [Show full text]
  • For Art's Sake
    GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY 2008-2009 FOR ART’S SAKE COMPARISON OF OSCAR WILDE‘S THE PICTURE OF DORIAN GRAY AND OUIDA‘S UNDER TWO FLAGS Hanne Lapierre May 2009 Supervisor: Paper submitted in partial Dr. Kate Macdonald fulfilment of the requirements for the degree of ―Master in de Taal- en Letterkunde: Engels-Spaans‖. Acknowledgements I would like to thank Dr. Kate Macdonald who oversaw the building up of the main body of the text. Her remarks were very helpful for writing the final version of this paper. I also thank Dr. Andrew King for giving me access to some of his interesting books on Ouida and for his remarkable enthusiasm on the subject. Contents Acknowledgements 1. Introduction ..............................................................................................1 2. On Ouida…………………………………………………………………4 3. Aestheticism……………………………………………………………..13 3.1. Introducing Aestheticism 13 3.2. The Origins of Aestheticism 15 3.3. Aspects of Aestheticism 17 3.3.1. Aestheticism as a View of Life 17 3.3.2. Aestheticism as a View of Art 21 3.3.2.1. The extraordinary status of the artist 21 3.3.2.2. An unlimited devotion to art 23 3.3.2.3. Rejection of conventional moral values 24 3.3.2.4. Superiority of form over content 30 3.3.2.5. Conclusion 33 4. Consumer Culture……………………………………………………...34 4.1. The Rise of Consumer Culture 34 4.2. Advertising 42 4.3. The Commodity 49 4.3.1. Use Value and Exchange Value 49 4.3.2. Being vs. Having 52 4.3.3. Having vs. Appearing 53 4.4.
    [Show full text]
  • Symbol and Mood in Tennyson's Nature Poetry Margery Moore Taylor
    University of Richmond UR Scholarship Repository Master's Theses Student Research 1971 Symbol and mood in Tennyson's nature poetry Margery Moore Taylor Follow this and additional works at: https://scholarship.richmond.edu/masters-theses Part of the English Language and Literature Commons Recommended Citation Taylor, Margery Moore, "Symbol and mood in Tennyson's nature poetry" (1971). Master's Theses. 1335. https://scholarship.richmond.edu/masters-theses/1335 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. SYJYIBOL AND MOOD IN TENNYSON•S NATURE POETRY BY MA1"1GERY MOORE TAYLOR A THESIS SUBI.'IITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS JUNE, 1971 Approved for the Department of English and the Graduate School by: Cha rman of the Department of English c:;Dean ofJ'.� the (JG�e . � School CONTENTS INTRODUCTION CHAPTER I: NATURE AND SYMBOLISM CHAPTER II: NATURE AND MOOD CONCLUSION BIBLIOGRAPHY INTRODUCTION The purpose of this paper is to show Tennyson's preoccupation with nature in his poetry, his use of her as a projector of moods and s.ymbolism, the interrelation of landscape with depth of feeling and narrative or even simple picturesqueness. Widely celebrated as the supreme English poet and often called the Victorian Oracle,1 Tenny­ son may well be considered the best exemplar of the nine­ teenth century.
    [Show full text]
  • John Keats 1 John Keats
    John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy.
    [Show full text]
  • Poems of Ossian
    0/», IZ*1. /S^, £be Canterbury fl>oets. Edited by William Sharp. POEMS OF OSSIAN. SQ OEMS OF CONTENTS. viii CONTENTS. PAGE Cathlin of Clutha: a Poem . .125 sub-malla of lumon : a poem . 135 The War of Inis-thona : a Poem 4.3 The Songs of Selma . 151 Fingal: an Ancient Epic Poem- I. Book . .163 Book II. 183 Book III. .197 Book IV. .... 213 Book V. 227 Book VI. ..... 241 Lathmon : a Poem .... 255 \Dar-Thula : a Poem . .271 The Death of Cuthullin : a Poem . 289 INTRODUCTION. ROM the earliest ages mankind have been lovers of song and tale. To their singers in times of old men looked for comfort in sorrow, for inspiration in battle, and for renown after death. Of these singers were the prophets of Israel, the poets and rhapsodes of ancient Greece, the skalds of the Scandinavian sea-kings, and the bards of the Celtic race. The office was always most honour- able, the bard coming next the hero in esteem ; and thus, first of the fine arts, was cultivated the art of song. Down to quite a recent time the household of no Highland chief was complete without its bard, to sing the great deeds of the race's ancestors. And to the present day, though the locomotive and the printing press have done much to kill these customs of a more heroic age, it is not difficult to find in the Highland glens those who can still recite a " tale of the times of old." x INTRODUCTION. During the troubles of the Reformation in the sixteenth century, of the Civil Wars .and Revolu- tion in the seventeenth, and of the Parliamentary Union and Jacobite Rebellions in the early part of the eighteenth, the mind of Scotland was entirely engrossed with politics, and the Highlands them- selves were continually unsettled.
    [Show full text]
  • Shelley's Poetic Inspiration and Its Two Sources: the Ideals of Justice and Beauty
    SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY. by Marie Guertin •IBtlOrHEQf*' * "^ «« 11 Ottawa ^RYMtt^ Thesis presented to the School of Graduate Studies of the University of Ottawa as partial fulfillment of the requirements for the degree of Master of Arts in English Literature Department of English Ottawa, Canada, 1977 , Ottawa, Canada, 1978 UMI Number: EC55769 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55769 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY by Marie Guertin ABSTRACT The purpose of this dissertation is to show that most of Shelley's poetry can be better understood when it is related: (1) to each of the two ideals which constantly inspired Shelley in his life, thought and poetry; (2) to the increasing unity which bound these two ideals so closely together that they finally appeared, through most of his mature philosophical and poetical Works, as two aspects of the same Ideal.
    [Show full text]
  • Edward Lear's Lines of Flight
    Journal of the British Academy, 1, 31–69. DOI 10.5871/jba/001.031 Posted 18 July 2013. © The British Academy 2013 Edward Lear’s lines of flight Chatterton Lecture on Poetry read 1 November 2012 by MATTHEW BEVIS Abstract: ‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paint­ ings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. I suggest that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention. Keywords: Edward Lear, poetry, painting, flight, birds, Charles Darwin, nonsense, evolution, Alfred Tennyson. until now I never knew That fluttering things have so distinct a shade. Wallace Stevens, ‘Le Monocle de Mon Oncle’ (1918) ‘If you cannot tell me how the shadows of the blessed jackdaws will fall I don’t know what I shall do’, wrote Edward Lear to William Holman Hunt in 1852.1 The poet’s feeling for the life of things was often enhanced by his regard for their fleeting effects. ‘Myriads of pigeons!’, he later exclaimed, ‘And when they fly, their shadows on the ground!’2 Notwithstanding the lessons of Plato’s cave, shadows, for Lear, inhabit the realm of the knowable; they are not simply a mistake, or a deception, or a diversion from the real. At once copies and reanimations, shadows may also stand as an analogue for art.
    [Show full text]
  • A History of English Literature MICHAEL ALEXANDER
    A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting
    [Show full text]
  • Paratextual and Bibliographic Traces of the Other Reader in British Literature, 1760-1897
    Illinois State University ISU ReD: Research and eData Theses and Dissertations 9-22-2019 Beyond The Words: Paratextual And Bibliographic Traces Of The Other Reader In British Literature, 1760-1897 Jeffrey Duane Rients Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the Curriculum and Instruction Commons, Educational Methods Commons, and the English Language and Literature Commons Recommended Citation Rients, Jeffrey Duane, "Beyond The Words: Paratextual And Bibliographic Traces Of The Other Reader In British Literature, 1760-1897" (2019). Theses and Dissertations. 1174. https://ir.library.illinoisstate.edu/etd/1174 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. BEYOND THE WORDS: PARATEXTUAL AND BIBLIOGRAPHIC TRACES OF THE OTHER READER IN BRITISH LITERATURE, 1760-1897 JEFFREY DUANE RIENTS 292 Pages Over the course of the late eighteenth and early nineteenth centuries, compounding technological improvements and expanding education result in unprecedented growth of the reading audience in Britain. This expansion creates a new relationship with the author, opening the horizon of the authorial imagination beyond the discourse community from which the author and the text originate. The relational gap between the author and this new audience manifests as the Other Reader, an anxiety formation that the author reacts to and attempts to preempt. This dissertation tracks these reactions via several authorial strategies that address the alienation of the Other Reader, including the use of prefaces, footnotes, margin notes, asterisks, and poioumena.
    [Show full text]
  • "Fiona Macleod". Vol
    The Life and Letters of William Sharp and “Fiona Macleod” Volume 2: 1895-1899 W The Life and Letters of ILLIAM WILLIAM F. HALLORAN William Sharp and What an achievement! It is a major work. The lett ers taken together with the excellent H F. introductory secti ons - so balanced and judicious and informati ve - what emerges is an amazing picture of William Sharp the man and the writer which explores just how “Fiona Macleod” fascinati ng a fi gure he is. Clearly a major reassessment is due and this book could make it ALLORAN happen. Volume 2: 1895-1899 —Andrew Hook, Emeritus Bradley Professor of English and American Literature, Glasgow University William Sharp (1855-1905) conducted one of the most audacious literary decep� ons of his or any � me. Sharp was a Sco� sh poet, novelist, biographer and editor who in 1893 began The Life and Letters of William Sharp to write cri� cally and commercially successful books under the name Fiona Macleod. This was far more than just a pseudonym: he corresponded as Macleod, enlis� ng his sister to provide the handwri� ng and address, and for more than a decade “Fiona Macleod” duped not only the general public but such literary luminaries as William Butler Yeats and, in America, E. C. Stedman. and “Fiona Macleod” Sharp wrote “I feel another self within me now more than ever; it is as if I were possessed by a spirit who must speak out”. This three-volume collec� on brings together Sharp’s own correspondence – a fascina� ng trove in its own right, by a Victorian man of le� ers who was on in� mate terms with writers including Dante Gabriel Rosse� , Walter Pater, and George Meredith – and the Fiona Macleod le� ers, which bring to life Sharp’s intriguing “second self”.
    [Show full text]
  • Victorian Philology and the Literary Languages of Matthew Arnold and Arthur Hugh Clough
    EDUCATED SPEECH: VICTORIAN PHILOLOGY AND THE LITERARY LANGUAGES OF MATTHEW ARNOLD AND ARTHUR HUGH CLOUGH DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Daniel S. Kline, M.A. ***** The Ohio State University 2007 Dissertation Committee: Professor David Riede, Adviser Approved by Professor Clare Simmons _______________________ Professor Amanpal Garcha Adviser Graduate Program in English ABSTRACT Educated Speech: Victorian Philology and the Literary Languages of Matthew Arnold and Arthur Hugh Clough argues that Matthew Arnold’s and Arthur Hugh Clough’s poetry and its political and social resonances can be fruitfully illuminated by focusing on the extended encounter between the language of their poems and Victorian philology—the nineteenth-century discourse that brought together issues of language, history, class, culture, and nationalism. This dissertation explores the ways that Clough’s and Arnold’s understanding of their medium was shaped by a sustained engagement with this complex and heterogeneous cluster of linguistic ideas including the persistence of eighteenth-century concepts of language, Romantic philology, and the emergence of historicist/comparativist orientations to language that all co-exist during the Victorian period. I argue that Arnold’s and Clough’s evolving understanding of language emerges from the ways in which Victorian philological insights are mediated through the Victorian educational establishment, and subsequently has such a mediated understanding is translated into specific and significant aesthetic features in their poetry such as the use of slang or the deployment of the simile. Further, because both Clough and Arnold subscribed to the central creed of Victorian philology—that language indexed cultural health—, the ii grounding of such aesthetic and formal qualities of the poems in this discourse allows us to recover or foreground additional aspects of the political and cultural resonances of Arnold’s and Clough’s poetry.
    [Show full text]